"Woe from Wit" analysis of Griboedov's comedy. "Woe from Wit": analysis of Griboyedov's work, images of heroes A complete analysis of Woe from Wit
It took two years to write the play. This play cannot be attributed to the genre of comedy, despite the fact that the author himself considers "Woe from Wit" a comedy.
There is drama and tragedy in the play. The end of the play is also tragic. The play consists of two types of conflict: a love drama and a confrontation between the new time and the old. Also, there is a romantic conflict.
The writer condemns careerism, the injustice of serfdom, ignorance, the problem of education, martinetism. With the help of secondary characters, which the author added to his play, Griboyedov, resorting to satire, condemns stupid, deceitful, vulgar people who occupy good positions and position in society, but do not cause any respect towards themselves. Even the best moral qualities of a good person can be lost under the influence of the majority (the Famusov society). So, circumstances forced Molchalin (a good person with positive qualities) to change his moral principles. In order to succeed, the hero is forced to live according to the canons of this society, to adapt to the environment.
The names of some characters are speaking. The surname "Molchalin" hints to the reader that the character is a hidden nature, a hypocrite. The surname "Skalozub" is a person with a boorish character.
Nowadays, people use Griboyedov's catchphrases and quotes without knowing it. The title reflects the very idea and essence of the play. The main character could not find his place in society and is rejected by this society, only because he is smarter than other people. This is the main problem: what good can be said about this society, which rejects an intelligent person, considering him a madman. Chatsky looks like a madman in the eyes of society, since he is the only one who does not pursue money, status and ranks. It is not convenient for society to change its habitual life for the sake of one person who is trying to explain the expediency of change in accordance with the requirements of the present. It is preferable for society to declare this one person - gone mad, than to listen to him.
This comedy reveals the problems of serfdom, education, serving the state. It is noteworthy that the author does not strictly divide his characters into positive and negative characters. All of them have both positive and negative qualities. For example, Chatsky is an honest, intelligent, independent and courageous person. But at the same time, he is quick-tempered, impulsive and touchy. Famusov, despite his negative qualities, is also an excellent father.
Analysis 2
One of the most amazing works of the nineteenth century is considered to be the comedy of Alexander Sergeevich Griboedov "Woe from Wit". It was created by the writer in 1822-1824, ten years after the Patriotic War of 1812. While writing the play, Griboedov was inspired by the stories of his childhood friend Evgenia Grekhova.
"Woe from Wit" contains elements of various literary movements, such as: classicism, romanticism and realism. In comedy, one of the three unities included in the norms of classicism is observed: the unity of time. However, other laws of classicism are not respected: there are four acts in comedy instead of five; there is no unity of action: there are two storylines in the work.
You should also pay special attention to the composition of the work. It is circular: it all started and ended in Famusov's house.
Comedy is based on social conflict. This is a conflict of different characters and worldviews, in which Alexander Andreevich Chatsky opposes the entire Moscow society. Chatsky is an ardent opponent of serfdom. He wants to serve the cause and considers service to be an activity for the common good, while others use service to serve their own ends. This is confirmed by his phrase: "I would be glad to serve, it is sickening to serve." Alexander Andreevich is against imitation of foreign, he believes that the preservation of the culture and traditions of his own people is much more important. Also, Chatsky "does not recognize the authorities", speaking out for the freedom of the individual.
The second, no less important basis of the work is the love line. Griboedov went beyond the generally accepted, destroying the "love triangle" and creating a "love square". In the center of this "square" is the girl Lisa - the maid of the Famusov house. She is in love with another servant, Petrushka. At the same time, Famusov and Molchalin show signs of attention to the girl. Famusov's daughter, Sophia, is in love with the latter. In which, in turn, Chatsky and Skalozub are in love. We end up with a long string of comedy love affairs.
In conclusion, we can say that the play by Alexander Sergeevich Griboedov "Woe from Wit" is a complex work with a ring composition, which is based on a social conflict and a love line. This comedy shows us how strong the reluctance of change in society. The work teaches that one should not mindlessly imitate someone, but be oneself, no matter how you are condemned.
Woe from Wit - Analysis
Griboedov's work "Woe from Wit" is a recognized work of the great writer.
The whole ideological essence is displayed in the title of the play. The sound mind of the protagonist Chatsky gives him a lot of problems, as a result of which he is rejected in the society around him. Chatsky is uncomfortable being in the company of people who consider him crazy. In numerous speech clashes, everyone tries to show his mind. Representatives of the nobility are trying to get a profit in everything, and everyone who does not pursue profit becomes a complete madman in their eyes.
The conservative representatives of the nobility could not agree with the opinion of Chatsky, since none of them was ready to adapt to the new time format. To prevent Chatsky's opinion from being heard, he is declared insane.
In the play there are two conflicts at once, which are social and love orientation. Social inequality can be traced in the clash of views of modern and long outdated.
Old love memories push Chatsky to go to Famusov's house, where he finds Sofya in confusion. Chatsky thinks about the reasons for the cooling of Sophia's feelings. He asks questions on this subject to everyone, during the dialogues it turns out that no one is able to understand Chatsky's opinions and experiences.
Griboyedov endows his characters with both positive and negative qualities. For example, Chatsky, endowed with intelligence, honor and courage, also has a temper.
The writer, working on a play in the style of classicism, endows his characters with "talking names". Famusov - formed from rumors, this character is worried about public opinion. Repetilov is a repetition, a hero who has no personal opinion, he is only able to repeat.
During the analysis of the play "Woe from Wit" one can notice a certain originality. By tradition, this play is the first one written in Russian realism. You can also notice many features of classicism, which include speaking names, the unity of time and place. The contradiction causes the absence of a single action. The simultaneous development of two conflicts causes a contradiction in the tradition of classicism.
In our time, one can often hear such turns of speech as "a legend is fresh, but hard to believe", "happy hours are not observed" - the author of all these lines is the master of the word Alexander Griboyedov.
The author approached writing with a personal style that is easy to read and remember. In the memory of the Russian people, there was immediately a place for an innovative style. The play remains quite understandable and relevant to the present, largely due to the masterful approach of the writer.
A teacher is an important person in the life of every student, because it is he who equips the child with a whole baggage of knowledge necessary for life, and also contributes to the formation of many skills and abilities in him.
In the fairy tale there are twelve months that the girl met in the forest. Every month is different, everyone has their own individual traits, each has its own character.
Russia in the middle of the 19th century was not inferior to European countries in terms of cultural level. The public was also very interested in their own national culture. To the theme of Russian folk tales, which is not characteristic of him
Briefly:
The idea of the comedy "Woe from Wit" dates back to 1816. During the life of the author, despite his efforts, the caesura did not allow the publication of this work. Only small excerpts from the comedy appeared in print. Despite this, "Woe from Wit" was well known in society, because it was distributed in lists. Only in 1831 did the censorship allow the incomplete text of the comedy to be printed. The most “unreliable” parts of it were excluded. In the same year, the play was staged in St. Petersburg, and then in Moscow.
The conflict in comedy is social; its protagonist is tormented not only by unrequited love, but also by the inability to live in this crazy society. Comedy bears the features of classicism - the unity of action, place and time, the characters are endowed with characteristic names - Chatsky - from the word "child", Famusov - from the English word "famous", Molchalin - wordless, Repetilov - retelling the thoughts of others, etc. But behind these external signs of classicism lies realism, which is expressed in the characters of the characters faithful to the truth of life, in their ambiguity, characteristic of living people. The deep realism of the comedy is matched by its vivid, figurative language. Here, living people speak a living language. The language of each character characterizes the image; for example, the accurate and sharp language of the maid Lisa, the harmonious and logical speech of Chatsky. Repetilov's monologues do not have a core, he constantly jumps from one topic to another. Many expressions from comedy have become “winged”, people still use them today, for example, “and the smoke of the fatherland is sweet and pleasant for us”, “happy hours are not observed”, etc. (For a detailed analysis of the characters of comedy characters, see the article “I. A Goncharov).
This work had a great influence on the further development of Russian literature. Almost fifty years after the comedy was written, I. A. Goncharov dedicated a critical essay to it, called "A Million of Torments", written as if the comedy had been recently completed.
Source: Quick Student's Guide. Russian Literature / Ed.-comp. I.N. Agekyan. - Minsk: Modern writer, 2002
More:
"Woe from Wit" (1824) became the first Russian realistic comedy, this work became a milestone for the establishment of realism in Russian drama. However, precisely because it was the first realistic work, one can single out the influence of the aesthetics of romanticism in it (even the image of Chatsky, who is generally realistic, is very similar to the images of romantic heroes opposed to circumstances and other heroes), and even the influence of classicism - here and observance the requirements of the "three unities" and the "speaking" names of the heroes. However, it can be said that Griboyedov in the comedy Woe from Wit creatively reworked all the best that had been created in Russian literature before him, having managed to create a qualitatively new work on the basis of this, and this novelty is determined primarily by new principles for creating characters, new approach to understanding the essence of images-characters.
Griboedov's heroes are heroes whose images are socially motivated, they are such because they belong to a certain time and certain strata of society, although this does not mean that they are schema heroes. It's just that in each of them the main character traits are formed by the environment, each of them expresses this environment, while remaining an individuality.
The language of the comedy "Woe from Wit"
Also, the language of the comedy "Woe from Wit" has become fundamentally new for Russian literature, the linguistic characteristics of the characters present each of them to the reader in such a way that, for example, Sophia's speech cannot be confused with the speech of Princess Tugoukhovskaya, and Molchalin and Skalozub differ both in characters and in their speech . The extreme individualization of the speech characteristics of the characters, a brilliant command of the Russian language, the aphorism of the characters' replicas, the sharpness of the controversy in dialogues and monologues - all this makes the language of Griboyedov's comedy "Woe from Wit" a unique phenomenon in Russian literature of the 20s of the XIX century, and the fact that many phrases from it became "winged", confirms that she belonged not only to her time.
Comedy conflicts
Comedy conflicts are very interesting. The external conflict is obvious: this is the confrontation between the advanced man of his time (Chatsky) and society, living in the past and striving to keep this life unchanged. In other words, the conflict of the old and the new, banal, in general, the conflict. However, he is most closely connected with the internal conflict of comedy, with the contradiction of the image of Chatsky. How could he, the smartest person, not understand that Sophia loves another after she herself told him about it and called the name of this person? Why does he prove his point of view with such fervor to people whose value he knows perfectly well, as well as he knows that they will never not only disagree with him, but even will not be able to understand him? Here it is, the internal conflict of the comedy "Woe from Wit" by Griboyedov. Chatsky deeply and sincerely loves Sofya, and this feeling makes him so slow-witted and even funny - although can someone who loves be funny, no matter how funny he may seem? .. In some ways, the internal and external conflicts of comedy coincide, although love Sofya to Molchalin and is not socially conditioned in terms of motivation, rather, on the contrary, but the romantic look of Famusov's daughter on the latter is also characteristic of the society in which they live.
The image of Famusov
The world of Famusov is the world of the Moscow nobility, who lives according to the norms of the "Times of the Ochakovites and the Conquest of the Crimea" and does not want to change anything in their lives. Famusov, the "manager in a state-owned place," does things carelessly ("Signed, so off his shoulders" ...), but he succeeds in arranging his life with all sorts of conveniences, not excluding "monastic behavior" ... He knows for sure that for his daughter "He who is poor is not a match for you", he is well versed in secular gossip and everything related to other people's estates, he can, on occasion, remind Molchalin to whom he owes his current position, and he is undisguisedly obsequious with Skalozub, seeing in him a profitable groom for his daughter ... In a conversation with Chatsky, not understanding even half of what the interlocutor says, he is mortally frightened, believing that he is talking with a "carbonari" (that is, a rebel) who "wants to preach liberty" and “does not recognize the authorities,” demands: “I would strictly forbid these gentlemen to drive up to the capitals to shoot at the shot.” He is not so stupid at all, Famusov, therefore he is ready to fight by any means to preserve his position and his way of life, he defends his right to see life like this and live that way. His danger is that he is ready for just that, for everything, or maybe he is still very much, so far he and others like him are the true masters of life, and only one person opposes them - Chatsky, who is very lonely in this society, which no matter how they talk about "nephews" and others who allegedly profess different ideals, but in Famusov's house Chatsky is truly alone.
The image of Chatsky in the comedy "Woe from Wit"
The image of Chatsky was perceived by his contemporaries as the image of an advanced person, defending the ideals of a new life, which was to replace the dominance of "famusism". He was seen as a representative of the younger generation, an intelligent, educated, decent person who passionately defends the need to change life and, it seems, is taking some steps in this direction, although the author speaks of this in passing. It is only indisputable that Chatsky is a thinking and gifted person, his judgments about public service, about duty, not without reason scare Famusov so much, they express ideas of a state structure that undermine the foundations of the existence of Famusov and his ilk: "To serve the cause, not individuals ... "," I would be glad to serve, it's sickening to serve, "" And for sure, the world began to grow stupid."
There was a lot of debate about whether the image of Chatsky in Woe from Wit can be considered the image of a Decembrist in literature, but there is no doubt that the ideas of the hero are close to the ideas of the Decembrists, to whom the author of the comedy treated with great sympathy. However, Chatsky is not just a spokesman for the advanced ideas of his time, in the opinion of the author of the comedy. This is a living person, he is sincere and deep in his feelings, his actions are determined by the feeling of great love that he feels for Sophia. He is in love, he remembers Sophia as a young girl who, judging by the fact that she makes excuses to Liza, showed him unequivocal signs of attention, and now he wants to see the same Sophia in her, not wanting to see that she has undergone dramatic changes. Chatsky's irritation and even some anger are caused by the fact that Sophia has changed her attitude towards him, and this prevents the hero from really perceiving circumstances, seeing them as they are. The mind and feelings of the hero are too much occupied with love for him to control himself, for him now the whole world is concentrated in Sophia, so everything else and everyone else just irritates him: Famusov irritates, to whom he still has a certain respect as Sophia's father; irritates Skalozub, in which he is ready to see Sophia's possible groom; irritates Molchalin, who, "with such a soul," cannot (as he believes!) Be loved by the same Sophia.
Chatsky's persistent attempts to find out the truth about Sophia's attitude to himself border on pathology, and his stubborn unwillingness to accept this truth could seem like blindness if it weren't for love ... However, the scene that he witnesses in the last act gives him the final answer to the most important question for him now is that he receives irrefutable evidence that Sophia not only does not love, but also betrays him, therefore Chatsky’s last monologue is the cry and pain of an offended soul and offended feeling, but here the Famus society is deadly accurately characterized, which took away from the hero the most precious thing in his life - love. Chatsky leaves Moscow, and his departure seems to indicate that he is defeated. True, there is a well-known thought by I.A. Goncharov that "Chatsky is broken by the amount of old strength, inflicting a mortal blow on it with the quality of fresh strength", but how can this undoubted victory of the hero help him when his heart is torn from pain? .. Therefore, we can say that that the ending of the comedy is close to tragic - for him, the "eternal accuser", to whom neither a brilliant mind, nor the ability to "make everyone laugh" could help to find ordinary human happiness ...
Molchalin
The system of comedy images is built in such a way that the author gives us the opportunity to see Chatsky's "anti-twins": these are the images of Molchalin and Repetilov. Molchalin is a happy rival of Chatsky in love, in his own way he is a very strong personality who manages to achieve a lot in life. But - at what cost? He sacredly observes his father's covenant: "My father bequeathed to me: First, to please all people without exception ...". He pleases, even with "our deplorable keeper" (this one calls Sophia) he "respectfully" spends the nights, because she is "the daughter of such a person"! Of course, one can say that for Molchalin such behavior is the only one possible from the point of view of achieving "known degrees", but is it not at the cost of losing self-esteem to achieve them?
Repetilov
The image of Repetilov was perceived by contemporaries as a clear parody of the Decembrists, which may seem strange - if we recall the attitude of the author of the comedy towards them and their ideas. However, Repetilov is very similar to ... Chatsky, only to Chatsky, deprived of his mind, his self-esteem, his ability to behave as his honor requires. The comic double of the protagonist helps to better understand the image of Chatsky in the comedy "Woe from Wit", to see his strengths and appreciate them, while remaining an original and original artistic image, ridiculing those of the supporters of the Decembrists who preferred "words, words, words..."
Sofia
The image of Sophia turned out to be complex and contradictory in the comedy. Molchalina, who created a romantic image for herself and fell in love with her “creation”, is ready to defend her beloved from Chatsky’s unfair attacks, as she is convinced, and succeeded a lot in this (remember, it was from her “feed” that gossip from Chatsky’s madness went for a walk!), which became an involuntary witness to how the person she loves mocks her and her love - this is what the heroine of the comedy has to go through, and at the end of the work she cannot but arouse sympathy from the viewer. Sophia is both smart and knows people well - how brilliantly she gives a hint of the imaginary madness of Chatsky to the secular gossip G. N., there is nothing to reproach her with on occasion! However, like Chatsky, she was blinded by love, and, bringing suffering to Chatsky, she herself suffers no less from the betrayal of a person whom she believed in and for whose love she made certain sacrifices.
"Mind Theme"
The theme of the mind occupies a special place in the comedy. The "woe" that Chatsky's undoubted mind brought to Chatsky is aggravated by the fact that in Famusov's world a different idea of \u200b\u200b"mind" dominates: here one who knows how to achieve ranks and money is valued, therefore Uncle Famusova, who endlessly falls before those who "rank" gives", is revered as a model of wisdom, and the smart Chatsky is declared crazy ... Being a thinking person in the circle of those who do not understand the difference between intelligence and cunning is Chatsky's lot.
Author's position
The image of the author, the author's position in the comedy "Woe from Wit" is manifested primarily in the creation of character images and the main conflict of the comedy. Chatsky is depicted with great sympathy, his moral superiority, his victory over Famusov's world speaks of which side the author is on. The satirical image of the world of old Moscow, its moral condemnation also point to the author's position. Finally, the ending of a comedy, when it turns into a tragicomedy (this was discussed above), from the point of view of expressing the author's position, also clearly tells the viewer which side the author is on. In Griboyedov's comedy, the author's principle is expressed both in remarks and in the speech characteristics of images-characters, the unique personality of the author of one of the greatest comedies in Russian literature is visible in everything.
As already noted, the "catch phrases" from "Woe from Wit" have firmly entered both Russian literature and the Russian language. The work itself also took its place in Russian culture, which gives reason to talk about the folk character of Griboyedov's comedy.
HISTORY OF CREATION
⦁ 1816 - the emergence of the idea of \u200b\u200bwriting. A. S. Griboedov did not like the obsequious admiration of the Russians for everything
foreign.
⦁ 1824 - the end of the original version. During the life of A. S. Griboedov, the comedy was distributed in the form of handwritten copies.
⦁ 1831 - the first theatrical production of the play.
⦁ 1862 the first publication of a comedy, which took place after the death of the author.
COMPOSITION AND CONTENT
Features of the composition: two storylines are closely intertwined in the play - social and love.
exposition
All the phenomena of the first act before the arrival of Chatsky. Acquaintance with the scene of action - the house of Famusov. The reader learns about the love affair between Sophia and Molchalin and about Sophia's past feelings for Chatsky, who left to wander the world.
tie
The appearance of Chatsky in the Famusovs' house, the love conflict is complicated by opposition to society.
climax
The culmination of the love storyline is the final explanation of Sophia and Chatsky before the ball, when the heroine declares
that there are people whom she loves more than Chatsky, and praises Molchalin. Chatsky's conflict with the Famus society reaches its peak at the ball.
denouement
Chatsky's final monologue. There is a denouement of a love affair, but the social conflict is not resolved. Chatsky is outnumbered and forced to retreat! However, he is not defeated, just his time has not yet come.
Major conflicts
The development of social and love conflict goes hand in hand.
| "Current Age" | "Century Past" |
The young progressive nobility of the early 19th century (adherents of the ideals of the Enlightenment):
|
The Famus Society is a Moscow noble society that adheres to established rules and norms of life;
|
| Chatsky and non-stage characters (cousin Skalozub, nephew of Princess Tugoukhovskaya) | Famusov and his guests, Molchalin, non-stage characters (Princess Marya Alekseevna, Tatyana Yurievna, Foma Fomich, Repetilov's circle) |
KEY LOOK
| images | Characteristics, role in the work |
| Chatsky | ⦁ originally the surname was Chadsky (from the word "child"), that is, the hero is in a child of passion and struggle; ⦁ smart, honest, bold, independent, but also quick-tempered, unceremonious; ⦁ freedom-loving, faithful to the ideals of the Enlightenment, not afraid to speak the truth in face; ⦁ embodied the best features of progressive youth: I would be glad to serve, it is sickening to serve. Ranks are given by people, but people can be deceived. |
| Famusov | ⦁ surname from lat. fama - "rumor"; the person who is most worried about public opinion: What will Princess Marya Aleksevna say! ⦁ enjoys official position, flatterer, likes to scold servants; ⦁ thinks education is the plague: ⦁ son of his age, but at the same time a good father, hospitable host and responsible uncle (he raised Chatsky) |
| Sofia | ⦁ smart, brave and determined, but naive; ⦁ brought up on French novels; ⦁ a child of its society, which ruined many good beginnings in it |
| ⦁ “speaking surname”: behind the silence of the hero lies his hypocritical nature; ⦁ the motto of the hero is “moderation and accuracy”; ⦁ in order to achieve his own, he is ready to please all people, “after all, you must depend on others” |
IDEA AND THEMATIC CONTENT
⦁ Topic: ridiculing the vices of secular society during the times of serfdom.
⦁ Idea: the problem of the mind. Why does a sane person find himself in opposition, in the minority? Why is he not understood? The protagonist experiences grief from his sanity. He was way ahead of his time and is preparing the coming of the new. The struggle between the old and the new will always continue. “Chatsky is inevitable with every change of one century to another. Every case that needs updating causes the shadow of Chatsky,” Goncharov wrote in his critical study “Mignon of Torment”.
GENRE UNIQUENESS
⦁ Griboyedov himself defined the genre of the play as a comedy.
⦁ Critics of the 19th century. called "Woe from Wit" "high comedy" by analogy with "high" and "low" calm.
⦁ Modern critics find features of drama (dramatic elements are developed, a tragic ending).
ARTISTIC MEDIA
Many expressions from the play were divided into quotations and became winged:
Happy hours are not observed.
With feeling, with sense, with arrangement.
After all, today they love the dumb.
Fresh legend, but hard to believe.
Well, how not to please your own little man!
Evil tongues are worse than a gun.
COMPARISON WITH OTHER WORKS
In "Woe from Wit" A. s. Griboyedov, "Eugene Onegin" by A. Pushkin and "A Hero of Our Time" by M. Lermontov depict typical representatives of the advanced noble youth of the first decades of the 19th century. They oppose themselves to society and strive for a better life, but in different ways. Their main problem is loneliness.
The play combines features of classicism, romanticism and realism.
Features of classicism:
- unity of place and time (the house of the Famusovs within one day), but there is no unity of action - two conflicts;
- the presence of large monologues, "speaking" names;
- love affair;
- traditional roles of a deceived father, a close-minded military man.
Realism features:
- problems of the realities of Russia in the 19th century;
- typification of characters and circumstances;
- the characters are multifaceted.
Features of romanticism:
- an exceptional hero (Chatsky) in unusual circumstances;
- misunderstanding of the hero by others, loneliness, maximalism and confrontation.
The comedy "Woe from Wit" widely reflected the era of that time: the author paints a picture of the life and customs of the noble society and its worldview, shows an advanced person with his ideals, and this whole picture has that "Moscow imprint" that Griboyedov's contemporaries spoke about and which accurately conveyed the spirit of the lordly Moscow of the 10s-20s of the XIX century.
In the play, we find responses to various topical issues of the time: here are disputes about cameras, jurymen, Byron, talk about Lancaster "mutual education", about the Pedagogical Institute and its professors, about Carbonari, Jacobins and Freemasons, about the English Club, about The Academic Committee, on the guardianship of the estates of the landowners, on the settlement of serfs for faults in Siberia, etc.
All this creates the color of the era and makes “Woe from Wit” related to “Eugene Onegin”, with the difference that in Pushkin’s novel the era, way of life and customs are often displayed in lyrical digressions, where the author argues himself, while Griboedov, due to the peculiarities of the dramatic works, introduces the era only through the speech of the characters, using this information to characterize the characters, since it is also important how the hero speaks about this or that issue, what is his opinion about this.
So, for example, the very first conversation between Chatsky and Sophia introduces the reader to the society of Muscovite nobles and to its interests and way of life (according to Chatsky). Dramatic conflict - the contradiction of the hero with the environment - determines the construction of the work, its composition. But not only one social conflict lies at the heart of Woe from Wit.
That speed and liveliness of action, about which the author himself spoke, is given to the comedy by another, love conflict. Griboyedov's great skill as a playwright spoke in the way he brilliantly showed the interpenetration of Chatsky's two dramas - public and private. Woe from love and grief from mind, intertwined, grow and deepen together, bringing the whole action to a denouement.
So, in act 1, basically, a love plot line is outlined: Sophia loves Molchalin (the reader will immediately find out about this, but neither Famusov nor Chatsky know).
From the conversation between her and Liza, we learn about Chatsky, who is in love with Sophia, and he immediately appears himself, animated, talkative, joking with Sophia, talking about her coldness, not yet believing in her, recalls Moscow acquaintances. Famusov is at a loss: he found Sophia Molchalin, later Chatsky.
Lisa is an active participant in all the scenes where a love affair develops; in act 1, she is cunning, shielding the young lady, and chuckles at her, and evades Famusov's lordly courtship, and remembers Chatsky.
The last words of Famusov, with which 1 act ends, is not just a remark at the end, as some critics thought, but at the same time it is the result of the action: Sophia - and two people around her: Molchalin and Chatsky. Famusov is at a loss - which of the two - and both, in his opinion, were not suitable for suitors.
In act IV, at the tragic moment of the climax of the act, the comic of Famusov’s situation lies precisely in the fact that he firmly decided this question for himself (“which of the two?”) In favor of Chatsky and is completely sure that he is right (“Even if you fight - I will not believe").
So, in act 1, the social conflict is only outlined by the thin lines of Chatsky's playful, albeit caustic remarks about Moscow society; the center of gravity is in a love affair. But here in the 2nd act, from the 1st to the 6th appearance, public motives are already clearly heard.
However, we note that the dispute between Chatsky and Famusov, which turned into a real duel between the “current century” and the “past century”, began because of Sophia: Chatsky asks about her health - Famusov is annoyed, since Chatsky, in his opinion, cannot be suitable groom for Sophia.
With great skill, Griboedov translates the conversation to public issues: to the words of Chatsky: “Let me get married, what would you say to me?” - Famusov replies with the proposal "not to bliss", not to manage the estate by mistake, and most importantly - to go to the service, to which Chatsky objects: "I would be glad to serve, it's sickening to serve."
Chatsky is annoyed, he has already received, albeit informal, since he himself does not make a formal proposal, but still a refusal from the father of his beloved girl. He is outraged by Famusov's demands, he is not able to give up his convictions for the sake of love.
The motive of civic duty of service is widely developed further in two monologues: Famusov and Chatsky, who express sharply opposite opinions. Famusov is a fan of the old ways of service, receiving places and ranks, Chatsky is an exponent of the view of service as the fulfillment of a person's civic duty. The way Famusov reacts to Chatsky’s opinion (“Oh my God! he’s carbonari!”, etc.) determines the significance of the social conflict more and more sharply. But Griboedov does not forget Chatsky's love drama either.
It accompanies the social drama and permeates it. Both conflicts mutually deepen each other. In the 3rd apparition, Famusov hints to Chatsky at Skalozub as a possible groom for Sophia, and in the 4th apparition, Chatsky, inflamed by a dispute with Famusov, shows the confusion brought into his soul by these allusions.
The sharpness of the social conflict is clearly defined in two famous monologues (Famusov and Chatsky): “Taste, father, excellent manner” and “Who are the judges?” So, becoming more and more complicated and deepening, the social conflict grows, and at the moment when it reaches great tension, Griboedov, with a quick and completely unexpected scene of Sophia's fainting, switches the reader's attention to the personal relationships of the characters.
From the 7th to the 14th phenomenon, a love affair develops, complicated by the treachery of Molchalin. Suspicions about Molchalin are added to Chatsky's suspicions about Skalozub. Liza from a confidante becomes an active participant in the development of a love story. Her famous words:
She to him, and he to me,
And I ... only I crush love to death, -
And how not to fall in love with the barman Petrusha! —
summarizes the new in the love affair in act II (in act 1 Chatsky - to Sofya, Sofya - to Molchalin, and in act 11 Chatsky - to Sofya, Sofya - to Molchalin, Molchalin - to Liza, Lisa - to Petrusha).
So, in the 2nd act, the ever-increasing social conflict is clearly indicated and, at the same time, the love affair becomes more complicated. If at the beginning of the 2nd act there are public motives complicated by personal experiences, and by the end of the action there is a rapid development of a love intrigue, then the 3rd act, on the contrary, begins, as if continuing the 2nd act, with the development of predominantly love motives, complicated public.
These are the phenomena 1 and 2, where Chatsky tries to ask Sophia about Skalozub and Molchalin, immediately speaking out on public issues (Chatsky's monologue “Let us leave this debate”).
Phenomenon 3 is an example of dialogue in verse. It fully merged both personal and public motives of the play. The dialogue provides rich material for characterizing Molchalin (Chatsky's opinions are no longer new to us, but his brilliant aphorisms are striking) and ends with a natural conclusion for Chatsky:
With such feelings, with such a soul
We love ... The deceiver laughed at me!
Further, from the 4th appearance, follows the picture of the ball at Famusov. Griboedov shows the large number and strength of the camp opposite to Chatsky; the inevitability of an open break is growing, and at the same time, against the background of the struggle between the two camps, inextricably linked with it, Chatsky's heart drama develops.
In the apparition of the 13th, Chatsky really angered Sophia by talking about Molchalin with mockery (psychologically, this is quite justified: after all, Chatsky is sure that Sofya cannot love Molchalin). From the irritated Sophia, for the first time, one hears about Chatsky: "He is out of his mind."
This is followed by phenomena in which gossip about Chatsky's madness grows with exceptional speed and ease. The rapidly changing scenes show how gossip finds its most fertile ground, how it acquires new and new, more and more incredible and ridiculous details.
The result, to which gossip reaches, are the words of Zagoretsky: “No, sir, barrels of forties!” In the 22nd (last) appearance, Chatsky is opposed to the whole society with his “million torments”, which resulted in an angry monologue: “In that room, an insignificant meeting ...»
The depth of the gap between Chatsky and the people around him is clear, and the last and very significant features have been added to the positive program of Chatsky, which he outlined earlier: the demand for respect for the Russian people, for national culture, for the native language.
The completion of the disclosure of Chatsky's ideological positions and his sharp clash with society ends the 3rd act.
In act IV, the scenes where Repetilov appears add new material to the characterization of Moscow society. Repetilov tells about the pastime of secular youth in the English Club, where meetings of the "secret" society take place.
Then, for a minute, the guests of Famusov pass in front of the reader, replacing each other. From the 10th appearance, Griboyedov brings us back to the love affair, leading it very quickly to a climax and denouement. In the last monologue of Chatsky, both conflicts are brought to an end: the clash with society ends in a break, the collapse of love becomes obvious. Chatsky leaves Moscow.
This is how comedy is built. The rapid course of action, the unexpected change of events, the impossibility of guessing their further development, the abundance of short scenes that instantly pass before the reader, the many characters, the speed and liveliness of the play, the well-aimed colloquial Russian speech - all this was new, unusual and amazed contemporaries, some of whom Griboyedov was reproached for neglecting the old tried and tested rules for constructing a classic comedy.
A.S. Griboedov is an outstanding person of his time: a musician, composer, brilliant diplomat, a progressive person of his time. Griboyedov immortalized his name with one work - "Woe from Wit." The idea for this play came from Griboedov in 1820 (there are other points of view). He completed the play in 1824, and it spilled out in handwritten lists.
She amazed readers by stopping the burning, topical problems of the time: the position of an educated person in society, the problem of serfdom, the problem of upbringing and education, etc. The play will be staged after the death of Griboedov in 1830. Griboyedov's play struck the reader with its artistic perfection. Griboyedov created an innovative, realistic work. Following the traditions of classicism, he at the same time violates them. Griboyedov uses the basic principle of classicism. The action of the play takes place in one day, in one place - in Famusov's house. But time in the play expands due to the introduction of off-stage characters: 1. the late uncle Maxim Petrovich, Catherine the Great, Kulma Petrovich, Tatiana Yuryevna, Marya Alekseevna, Foma Fomich, etc. They introduce us into the atmosphere of the “past century”. Thanks to them, we learn about the mores of this age, about their vitality in the "current age." Reverence, sycophancy, hypocrisy; 2. Chatsky's like-minded people: Skalozub's cousin, a professor at the Pedagogical Institute, who "practice splits and unbelief"; Prince Fyodor ("he is a chemist, he is a botanist"). These freedom-loving thinking people live in the present century, but determine the future; 3. Imaginary associates of Chatsky, who, as in a distorting mirror, reflect the views of Chatsky: members of the English Club, about which Repetilov speaks in the fourth act. The place of action is also expanding due to the names of places: Moscow, St. Petersburg, Tver, Saratov, etc. In addition to the five main characters, the play is overrun with people. It is no coincidence that a ball scene was introduced. Heroes do not perform a strictly defined role, as is customary in classicism. Before us are real people with their inherent weaknesses and shortcomings. So, for example, Chatsky Alexander is a positive hero, freedom-loving, thinking, with a sharp mind, but he also has flaws and weaknesses: he suffers from Sofia's unrequited love, sinks to eavesdropping and peeping. Sophia (from the Greek "wise") acts contrary to wisdom, choosing Molchalin as her suitor. Molchalin himself seems to be a negative character, but he was silent not because he had nothing to say, but because he was not in high ranks. He cannot say like Chatsky: “I would be glad to serve, it’s sickening to listen.” Molchalin is a man of a businesslike, practical mind. The names of the heroes do not exhaust the whole character, but only some trait. The genre of Griboyedov's play is a comedy. It consists of four steps. This comedy is a sharp satire on social vices, a comedy of positions and characters. The purpose of comedy is to alleviate and ridicule these vices. In comedy, the author uses comic tricks: 1. "Talking names"; 2. Reception of the conversation of the deaf: Chatsky's Famusov does not hear, Chatsky does not hear Sophia, Sophia does not hear Lizonka; 3. Reception of eavesdropping and peeping. Griboyedov is also an innovator in creating conflict. The play rests on two conflicts developing in parallel: love and social. The features of the love conflict are that the play begins with an exposition: the maid Lizonka presents all the main characters and their characteristics. The plot of the conflict begins at the moment Chatsky appears in Famusov's house: “A little light - already on my feet! And I'm at your feet." The ardent, impulsive Chatsky sees how prettier Sophia has become during his three-year absence. But Sophia answers him with coldness. Chatsky is preoccupied with this attitude of Sophia and thinks: “Is there any kind of groom here?” And throughout all subsequent actions, Chatsky is trying to find out who Sophia's fiancé is. The first, according to Chatsky, will be Skalozub. Famusov fusses in front of Skalozub: "And the golden bag, and aims for the generals." At the end of the second act, when Sofya faints, when Molchalin falls from his horse, Chatsky thinks that the groom is Molchalin. At the beginning of the third act, having arrived at the ball, Chatsky decided to ask Sophia herself who her chosen one was. Sophia almost confesses her love for Molchalin to him, but Chatsky does not hear her. Moreover, he believes that Sophia is laughing at him, talking about the merits of Molchalin: “She does not respect him”, “She does not put him in a penny”, “Naughty, she does not love him”. The culminating moment in the development of a love conflict is the scene of Chatsky's announcement of a madman: "He is out of his mind." The denouement in a love conflict - eavesdropping and peeping, Chatsky finds out who Sophia's chosen one is Molchalin. And Chatsky, offended in his best feelings, decides to leave Moscow:
“Get away from Moscow, I don’t come here anymore.
I'm running, I won't look back, I'll go looking around the world,
Where there is a corner for the offended feeling ...
Carriage for me, carriage!
Features of social conflict. This conflict is connected, first of all, with the contradictory views of Chatsky and Famusov. This conflict is tied up in the second act and the impetus for it was the question of Chatsky: “Let me get married, what would you tell me?”. Famusov's answer discourages Chatsky, as Famusov advises Chatsky to learn how to manage the estate and serve. Chatsky is annoyed by Famusov’s teachings and he categorically answers: “I would be glad to serve, it’s sickening to serve.” The clash between Famusov and Chatsky is inevitable, because they express different views on life. These views are expressed in their dialogues and monologues. Famusov is a defender of the morals of the "past century". For the sake of ranks and careers, representatives of this century were ready for servility, hypocrisy, careerism, that is, any means to achieve the goal were good. In Famusov’s monologue: “That’s it, you are all proud,” his views are most fully expressed, because the ideal for him is the late uncle Maxim Petrovich, a noble nobleman who himself “bent over backwards” when it was necessary to serve. Famusov, speaking to Chatsky about the service, did not like to work himself. All the work for him was done by the "businesslike" Molchalin. At the beginning of the second act, an entry is made in the calendar. The whole week is scheduled not for the service, but for christenings, name days, and funerals. Alexander Chatsky is an advanced, freedom-loving, educated person. He is critical of the morals of the "past century", stigmatizes them in his monologues: "And the world just began to grow stupid", "And who are the judges?" Chatsky speaks of the servility of the "past century", of serfdom and cruel serf-owners, of the condition of the people. In monologues, Chatsky talks about upbringing, education and science. In Famusov's society, as well as "in the past century", education and science were considered "fire" and "robbery". In the third act, the scene of the Famusov's ball is introduced. It is necessary in order to show Chatsky's conflict not only with Famusov himself, but with the whole society, because society is united in its desire for enrichment, but in its rejection of education. Also, all the guests agree on one thing - in the rejection of Chatsky. For them, he is a stranger. The climax in the public conflict will also be the scene of declaring Chatsky crazy. Society gladly picked up this gossip. And he found out the reason for Chatsky's madness: "Learning is the plague, learning is the reason." In its rejection of the views of Chatsky, society is like one person. They even have the same turns of speech, the same conversations, the same gossip. Society is indifferent to Chatsky's statements. So, at the end of the third act, Chatsky utters a monologue "about a Frenchman from Bordeaux", in which he speaks of a blind and slavish imitation of everything foreign. Chatsky advises to look at his people: “So that our people are smart, peppy. Although, according to the language, he did not consider us Germans. At the end of the action, a note is given that the guests: “whirl in a waltz with majestic zeal” (“The old men dispersed to the card tables”). Society does not hear what Chatsky says, and does not want to hear. The outcome of the social conflict is the scene of Chatsky's departure from Famusov's house and from Moscow. And in the sense that Chatsky does not remain in society, he speaks of his rejection of this society. But the play also has a second ending. Famusov is concerned not with what Chatsky said, but with what the Moscow princess Marya Alekseevna will say about what happened in his house. As the conflicts develop, the heroes, not only Chatsky, receive “a million torments”, and the comedy turns into a tragicomedy. Chatsky suffers from the coldness of Sophia, from the "friendly vice", he is the rejection of society. But Sophia also suffers (she was betrayed by the person whom she sincerely loved). Meaning of the play's title. The original title is “Woe to the mind”, but Griboyedov changes the title to “Woe from the mind”, I want to ask the question: from what mind? Famusov and Molchalin are not stupid people at all. Their mind is practical, pragmatic, aimed at creating a comfortable life for themselves and their families. In the Famus society, woe to the mind of Chatsky, that is, the mind independent, free from practical goals. An advanced mind tuned to the progressive development of society.
Griboyedov wrote the play for two years (1822-1824). Since Alexander Sergeevich served as a diplomat and was considered an influential person, he hoped that his creation would easily pass the censorship and soon become a full-fledged performance. However, he soon realized: comedy "no pass." It was possible to publish only fragments (in 1825 in the almanac "Russian Thalia"). The entire text of the play was published much later, in 1862. The first theatrical production took place in 1831. However, in handwritten lists (samizdat of that time), the book spread rapidly and became very popular among the reading public.
comedy feature
Theater is the most conservative art form, so while romanticism and realism were developing in literature, classicism still dominated the stage. Griboedov's play combines the features of all three directions: "Woe from Wit" is a classic work in form, but realistic dialogues and problems related to the realities of Russia in the 19th century bring it closer to realism, and the romantic hero (Chatsky) and the conflict of this hero with society - a characteristic contrast for romanticism. How do Woe from Wit combine the classicist canon, romantic motifs, and a general realistic orientation towards vitality? The author managed to harmoniously weave contradictory components together due to the fact that he was brilliantly educated by the standards of his time, often traveled the world and read in other languages, so he absorbed new literary trends before other playwrights. He did not rotate among writers, he served in a diplomatic mission, and therefore his mind was free from many stereotypes that prevented authors from experimenting.
Drama genre "Woe from Wit". Comedy or drama?
Griboyedov believed that "Woe from Wit" is a comedy, but since tragic and dramatic elements are very developed in it, the play cannot be attributed exclusively to the comedy genre. First of all, you need to pay attention to the ending of the work: it is tragic. Today it is customary to define "Woe from Wit" as a drama, but in the 19th century there was no such division, so it was called "high comedy" by analogy with the high and low calm of Lomonosov. There is a contradiction in this wording: only tragedy can be “high”, and comedy is by default “low” calm. The play was not unambiguous and typical, it broke out of the existing theatrical and literary clichés, which is why it was so highly appreciated by both contemporaries and the current generation of readers.
Conflict. Composition. Issues
The play is traditionally distinguished two types of conflict: private (love drama) and public (contrasting the old and new times, the "famus society" and Chatsky). Since this work is partially related to romanticism, we can argue that there is a romantic conflict between the individual (Chatsky) and society (Famusovsky society) in the play.
One of the strict canons of classicism is the unity of action, which implies a causal relationship of events and episodes. In Woe from Wit, this connection is already significantly weakened, it seems to the viewer and reader that nothing significant is happening: the characters walk back and forth, talk, that is, the external action is rather monotonous. However, the dynamics and drama are laid down precisely in the dialogues of the characters, the play must first of all be listened to in order to catch the tension of what is happening and the meaning of the production.
The peculiarity of the composition is that it is built according to the canons of classicism, the number of acts does not coincide with it.
If the comedies of writers of the late 18th and early 19th centuries denounced individual vices, then Griboyedov's satire fell upon the entire conservative way of life, saturated with these vices. Ignorance, careerism, martinetism, cruelty and bureaucratic inertia - all these are the realities of the Russian Empire. The Moscow nobility with its ostentatious puritanical morality and unscrupulousness in business is represented by Famusov, stupid military careerism and blinkered consciousness - Skalozub, obsequiousness and hypocrisy of bureaucracy - Molchalin. Thanks to episodic characters, the viewer and reader get acquainted with all the types of the “famus society” and see that their cohesion is the result of the solidarity of vicious people. The many-sided and motley clique has absorbed all the vulgarity, lies and stupidity that society is accustomed to worship and yield to. The characters are not only on stage, but also off stage, mentioned in the replicas of the characters (truthmaker Princess Marya Aleksevna, writer of "exemplary nonsense" Foma Fomich, influential and all-powerful Tatyana Yuryevna and others).
The meaning and innovation of the play "Woe from Wit"
In the play, which the author himself considered a comedy, oddly enough, the most pressing problems of that period are highlighted: the injustice of serfdom, an imperfect state apparatus, ignorance, the problem of education, etc. Griboyedov also included, it would seem, in an entertaining work, the burning disputes about boarding houses, jury trials, censorship and institutions.
Moral aspects, which are no less important for the playwright, give rise to the humanistic pathos of the work. The author shows how the best qualities in a person die under the pressure of the “famus society”. For example, Molchalin is not devoid of positive qualities, but he is forced to live according to the laws of Famusov and others like him, otherwise he will never succeed. That is why "Woe from Wit" occupies a special place in Russian dramaturgy: it reflects real conflicts and non-fictional life circumstances.
The composition of the drama is sustained in the classic style: the observance of the three unities, the presence of large monologues, the speaking names of the characters, etc. The content is realistic, so the performance is still sold out in many theaters in Russia. Heroes do not personify one vice or one virtue, as was customary in classicism, they are diversified by the author, their characters are not devoid of both negative and positive qualities. For example, critics often call Chatsky a fool or an overly impulsive hero. Sophia is not to blame for the fact that during his long absence she fell in love with the one who was nearby, and Chatsky is immediately offended, jealous and hysterically denounces everything around just because his beloved has forgotten him. A quick-tempered and absurd character does not paint the main character.
It is worth noting the colloquial language of the play, where each character has his own speech turns. This idea was complicated by the fact that the work was written in verse (iambic multi-footed), but Griboedov managed to recreate the effect of a casual conversation. Already in 1825 the writer V.F. Odoevsky stated: “Almost all the verses of Griboedov’s comedy became proverbs, and I often happened to hear in society, the whole conversations of which were mostly verses from Woe from Wit.”
It is worth noting speaking names in "Woe from Wit": for example, “Molchalin” means the hidden and hypocritical nature of the hero, “Skalozub” is the inverted word “gnawing”, meaning boorish behavior in society.
Why is Griboedov's comedy "Woe from Wit" now readable?
At present, people often use Griboyedov's quotes without knowing it themselves. Phraseologisms “a legend is fresh, but hard to believe”, “happy hours are not observed”, “and the smoke of the fatherland is sweet and pleasant to us” - all these catchphrases are familiar to everyone. The play is still relevant today due to Griboyedov's light aphoristic author's style. He was one of the first to write a drama in real Russian, which people still speak and think. The heavy and pompous lexicon of his time was not remembered by his contemporary in any way, but Griboedov's innovative style found its place in the linguistic memory of the Russian people. Is it possible to call the play "Woe from Wit" relevant in the 21st century? Yes, if only because we use his quotes in everyday life.
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